Between various genres of Korean variety shows, one of the rising star in the recent years was a survival audition program, which possesses a reality show and a competition characteristics (Park, 2011). In the history of successful Korean audition-based show—from "Superstar K," "K-Pop Star," to "Produce 101”—they have not only been immensely popular with viewers—locally and globally via an impact of Korean Wave—but have also driven many talented singers and ‘normal’ individuals to the spotlight, which as well leading the producers to create more of these shows (Dong, 2021). Throughout the years of South Korea's thriving K-Pop industry, survival audition reality shows have given rise to many idol groups that come from audience votes, while some of them could make it to the top. After “Produce 101” was suspended due to its controversial issue regarding the voting manipulation, “Boys Planet” was introduced as a counterpart of the same series, with a new twist of producing a ‘global K-Pop idol group’. It is important to discuss the continuation of survival audition programs after “Produce 101” with the introduction of “Boys Planet”, which highlights the broadcaster's efforts to engage a global audience with K-pop culture through these shows, considering the increasing globalization of the K-pop phenomenon. The key factors behind the success of an survival audition show could be identified by looking at its narrative format. Using the case of Mnet’s recent audition-based show “Boys Planet”, this study aimed to examine the narrative format and narrative structure by employing Seymour Chatman’s (1978) Narrative framework. The result of the analysis showed that competition and evaluation are the main events, while the other elements such as entertainment ,variety, and individual stories serve as functional events. In order to further understand the intention of the program’s ‘Korean vs Global’ narrative, Levi-Strauss’s theory of binary opposition (Levi-Strauss, 1955; Story, 2001) is used. In addition, this study also explored the aspect of cultural representation (Hall, 1997) in the broadcast, addressed issues aroused from cultural differences between the participants as there were also non-Korean trainees joining the program. The analysis revealed a contrast belief towards K-Pop between the local and the foreign trainees, although they all love and share the same dream of becoming a K-pop star, which too, reflecting a highly competitive and not-allowed-to-fail nature of the Korean society. This research is hope to contribute to the media industry to understand the current trend of narrative of the survival audition programs, and to gain more understanding in terms of cultural sensitivity; it is the responsibility of the producers, to the program participants, as well as to the audiences.